The article presents the concept of the project aimed at studying the influence of W. Shakespeare’s oeuvre on contemporary Russian culture. A special attention is paid to the analysis of specific features in the Russian reception of the Shakespearean legacy in the 20th–21st centuries in the interrelation of the national and global. In this respect, it is quite significant how people celebrated the anniversaries of Shakespeare’s birth in Russia in 1864, 1914, 1939, 1964 and 2014. These observations give an opportunity to present the Russian Shakespearean sphere in its historical perspective and to draw some conclusions on the role of Shakespeare in contemporary culture of Russia. The author considers some tendencies typical for the appropriation of Shakespeare’s works in Russia in the 20th–21st centuries. В статье представлена концепция проекта, задачей которого является изучение влияния творчества У. Шекспира на современную русскую культуру. Особое внимание уделено анализу специфики отечественной рецепции шекспировского наследия в XX–XXI вв. во взаимосвязи национального и глобального. В этом отношении небезынтересно проследить, как в России отмечались шекспировские юбилеи в 1864, 1914, 1939, 1964 и 2014 г. Эти сведения дают возможность представить отечественную шекспиросферу в исторической перспективе и сделать некоторые выводы о роли Шекспира в современной культуре России. Автор рассматривает некоторые тенденции, характерные для апроприации шекспировского творчества в нашей стране в XX–XXI столетиях.
Film archives still linger at the fringes of the galleries, libraries, archives, and museums sector. However, in the opinion of this author, they are the logical partners when it comes to the curation, publication, exploration, and interconnection of online resources. I intend to address some of the obstacles which have so far prevented more successful collaborations and projects, as well as present positive examples of interdisciplinary exchange within the field. Modern universities still tend to separate scholarship from curation, a fact that is hardly deniable. The latter is normally reduced to a secondary and supportive role, while the digital humanities instead commit themselves explicitly to a new definition of the “scholar as curator and curator as scholar.” Lev Manovich, who coined the term “cultural analytics,” is among the pioneers in the field who work on projects that unite cultures and institutions. My own work with Manovich on the visualization of filmic structures in the films by the Russian filmmaker Dziga Vertov can serve as a model for successful collaboration between a film archive and a research institution.
The article comprises some results obtained during the first year of the “Development and Launching of Open Access Online Digital Tools for Comparative Thesaurus Analysis of Russian Translations of W. Shakespeare’s Works” project (www.shakespearecorpus.ru) supported by the Russian Foundation for Basic Research (no. 17-04-12038в). The author specifies the main opportunities provided by the “Version Variation Visualization” platform using the case of Russian translations of Shakespeare’s “Troilus and Cressida” made in the 20th–21st centuries by A. M. Fedorov, L. S. Nekora, T. G. Gnedich and A. V. Floria.
This article describes a set of right-branching dependent clauses based on finite predicates in Gagauz. These clause types have developed, as will be argued, under the influence of Bulgarian and Russian and have displaced the left-branching clauses of the Turkic type. All propositions are introduced by the junctor ani, which is used to introduce relative clauses, complement clauses, and clauses of purpose and reason. It is a polyfunctional unit and bears no semantic content. The semantic type of the clause introduced by ani thus has to be judged by the type of head it is dependent on and, in the case of clauses of reason or purpose, the mood of the clause’s predicate.
The article focuses on the adaptation strategies used by Lope de Vega in his play El Gran Duque de Moscovia y emperador perseguido (1617). This tragedy, built on material acquired from travelogues, represents the first depiction of the Russian Time of Troubles in fiction. In it, one can follow Lope de Vega’s shift from preserving the factual details collected from different travel sources to creating his own Baroque story placed within a purely Catholic world, as opposed to reality. In doing this, Lope de Vega creates a fictional space filled with mystery and miracles, where Heavens can intervene and punish the guilty party, whereby restoring the original status quo. Key situations turn from illustrations of an alien world into much more general depictions, namely, that of a tyrant versus a legal monarch, and the will of a ruler versus the law. The shift into tyranny provides the story with a new narrative centre and, by following Lope de Vega’s emphasis on the “Muscovian story,” discloses its universal spirit
How does our daily mindreading—that is, our attribution and misattribution of mental states (such as thoughts, feelings, and intentions) to ourselves and others—differ from the mindreading we engage in when we read fiction? I have argued elsewhere (e.g., “Secret Life of Fiction,” PMLA, 2015) that drama, novels, and narrative poetry play and experiment with our mindreading, by “embedding” mental states within mental states at a much greater frequency and intensity than happens either in our daily social interactions or in other written discourses. In this essay, I attempt to historicize this claim, exploring how the pattern of such embedment has changed over time in different national literary traditions, with a brief look at eighteenth-century Russian literature and a particular emphasis on ancient and modern China.
An overview of some central ideas and movements in nineteenth-century criticism and aesthetics during the Victorian period, after the heyday of Romanticism. This lecture centers on the development of historical scholarship and its context in the history of ideas, followed by some notes on incipient sociological theories of literature and proto-Marxist critical approaches in Czarist Russia.
Through an analysis of the ideas about change and continuity in Russian history and its dif- ference or similarity with the Western European experience, the article explains that the historical transformation begun with the Russian Revolution of February 1917 and continued by the Bolshe-vik rise and subsequent civil war, can be considered within the context of the processes of violent modernization of the early 20th century.
Encounters with the Russian Avant Garde
This paper claims that the scope properties of the Russian disjunction marker ili correlate with the phrasal vs. clausal nature of the disjunction: phrasal disjunction yields narrow scope whilst clausal disjunction yields wide scope. In so doing, we introduce novel empirical generalisations that are problematic for purely semantic analyses of PPI-disjunction.